Rudolf Bockholdt: Einige Beobachtungen zu Bachs h-moll-Messe

The study begins with Bach’s four short masses, the “Lutheran Masses” BWV 233-36—each containing only a Kyrie and Gloria—in order to illustrate their fundamental differences to the Kyrie and Gloria of the Mass in B Minor (BWV 232), whose Kyrie consists of three movements (B minor, D major, F-sharp minor). After the Gloria comes to its conclusion, it becomes clear that the Christe eleison has a special function, namely as a solo setting (duet) in D major, while each D major movement of the Gloria has a choral setting. The Mass in B Minor is, in reality, a mass in D major, indeed, a work essentially for choir rather than solo voices. This explains the special function of the Christe eleison—its solo setting and tonal relevance within the context of the entire work. The ‘Gloria in excelsis Deo’ moves to ‘Et in terra...’ in bar 100, which harkens back to the late Middle Ages (and thereafter) when settings of the Gloria began with Et in Terra (latent intonation). Bach uses the music of the Gratias to end the entire mass (Dona nobis pacem); in this way he seems to be expressing his gratitude for his life’s work. Contrary to the opinions of most Bach scholars, the author considers the Domine Deus an original composition due to its striking textual setting. The tonality of the Qui tollis, comprising 50 (25+25) bars, is extremely difficult to evaluate. The last aria for bass, Quoniam, and the last choral movement, Cum Sancto Spiritu, share the same length (128 bars in 3/4 time).

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